Boards

What sort of things are looming over the next year that you’re creaming your knickers about?

Hoax are playing in Glasgow at the end of the month and I’m both beside myself with excitement and absolutely terrified. Undoubtedly, if you choose to seek out some live videos of Hoax, you will most likely bear witness to their singer indulging in some ferocious casual violence, mostly directed to the faces of audience members. Pull the fucking trigger.

And anything you’re hoping for?

I could do with a Loma Prieta UK/European tour this year. They’re supporting Raein on their American tour and if they’d accompanied them on the UK leg…my god, that would’ve been really nice. Anyway, they haven’t played in the UK since 2011, and since they released IV last year (which is fucking intense), I think they should come over here for a bit with utmost immediacy.

I'm also looking forward to hearing Honeys, too, but the artwork is terrible. Pissed Jeans have had near impeccable artwork for their past albums - even Shallow had a certain King-of-the-Hill-cell charm to it.

The three tracks I've heard all sound like beefed up versions of what III was doing. They've still got it. I heard them play some new stuff last year when they toured small venues in November, and it absolutely killed.

Recently unearthed from deep within the vaults of the Anti-Everything noise label resurfaces the long lost masters of "Noise Conglomerate" Vols. IV & V. Two 99 track CD compilations that never saw the light of day. An international collection of turn of the millennium noise, extreme music and sound art compiled between 1998 and 2002. Now freely available for mass consumption.

So I'll just link to this post on Troniks which I'm keeping updated with listing of all my shows including Bristol and London this fri/sat and Ireland tour later in the month and hopefully many more throughout the year, keep an eye on it if you're interested (and/or the google calendar on www.cementimental.com) :)

a nice poppy-hardcore riff thing going on in. Don't think I'd seek FFAF out to listen to them any more, but I wouldn't turn them off if they came on TV or the radio or something. Too into my bellend 80's cop show electro now.

Memory And Humanity is really awful - it was released after tales didn't make the impact they wanted, and sounds really confused as to what band they wanted to be, as if they wanted to go heavier but just couldn't bring themselves to do it.

Welcome Home Armageddon is a good listen though - a lot more hardcore than previous ones.

This year's going to be really busy (hooray!). We've got the EP coming out soon, then we'll record again in Feb/March for 3 splits with Football Etc, No Action and XaXaXa. Then we're planning a tour in summer with Football, Etc. After that, maybe some European dates and a 12" in the winter.

Going to see Kerouac play a benefit gig for the Joiners in Southampton. Their gig at the Old Blue Last in July was one of the most intense gigs I have ever been to, so I am looking forward to it. Would be good if the Long Haul played as well.

Wasn't too keen on the last one - no Gabe drumming and I think he added a lot of the energy to the band. They were also very quiet about him not being on that tour - all the promo shots for it had him in it so we were pretty pissed with some 17 year old trying to compensate for Gabe

I've loved As The Roots Undo like it was my own flesh and blood for YEARS, and I often wonder if this is because I always secretly thought they would never make another record. This kinda makes it hard to connect with the new record.

That said, the album is very, very good. CTTS are incredibly solid songsmiths, meaning that it's all lovingly crafted and sounds about as lush as anything they've made so far. It's just not the record I fell in love with. It's not them, it's me.

I couldn't tell you the name of anyone else in the band. And it always seemed weird that Scott Ian was in Anthrax and wasn't just some guy who was best friends, yet utterly respected, all of the metal bands ever, so was invited to do interviews for Behind the Music and metal documentaries and that all the time.

http://www.youtube.com/watch?v=DeLgGw5BGqAAll We Love was probably my favourite of all of last years new releases which I bought last year (arguably overtaken by Bell Witch and Pallbearer which came out last but I bought this). It's so rare that a band just truly has IT

just about every part of it is something that i might look for in a heavy record but there's something about it that I just can't quite connect with. Theres a kind of sterility to it, perhaps not being a full time band robs it of some emotional weight, but its something that I find with a lot of Aaron Turner's albums with OML and Isis. I appreciate his work but I find it hard to love despite being right up my street on paper.
That said there is so much to like about this album, its probably my favourite Aaron Turner album, and while admitedly I didn't keep up with new releases very well, it would probably have a solid entry in my favourite albums of 2012.

Does anyone have this problems with any bands or albums or am I overthinking and should shut up and enjoy the riffs?

Definitely worth a revisit I reckon. That new song that was released last week sounded cool too.

I think maybe it's just I have less energy to listen to heavy records all the time at the moment for whatever reason. I kinda pick and choose what I get into, but I don't doubt there is loads of great stuff about.

but every time i search youtube for new albums i want to check out i find the video reviews of this one bald guy who seems to like all the music i do - and actually say some interesting things for a youtube reviewer - and he was tripping balls over it so I'm looking forward to getting into it when i have time

He is fucking deplorable. His videos used to feature these weird jittery/glitchy edits in them, kind of like Max Headroom, where things would double up, or slow down, and they were so infuriating. Are they still like that?

and he has a sidekick of himself playing keyboard in a cardigan sometimes too

i wonder how much time he's actually giving some fo the albums considering how many he reviews. Like when I get a new album I really like I'll listen to almost nothing else for a few days or even a few weeks so to turn it off and appreciate a different record about four days later is kind of alien to me. But then, we all listen to music in different ways so whatever works for him, he obviously gets through some quality releases in his time.

so I wonder how many are albums he actually wanted to listen to, how many were sent to him for reviews, and how many are ones that enough people have asked him to review.

I also can't imagine labels or whoever sending him recently released albums, asking for reviews. I mean, they might, like they would send them to magazines, and he does somehow have some sort of strange respect or clout as a youtube album reviewer, but I can't picture anyone taking him seriously. It would be totally different if he was reviewing swathes of DIY/underground/unknown releases.

it's the guitarist and chang from gridlink fulfilling all their super fast thrash metal dreams. spent far too much time recommending their stuff to people on here but both EPs are 10/10, no fooling. if loads of people started buying them then maybe they'll make a new one someday.

It's streaming on Spin, for whom Matt Korvette writes a fashion blog (really: http://www.spin.com/#writers/matt-korvette). It’s quite gnarly and totally numbskull and pretty vile. Therefore, it’s absolutely great, despite the still criminally awful album cover. I really like ‘Health Plan’. I had to listen to it twice.

it feels to me that after Blast Tyrant - or arguably Pure Rock Fury - they really settled upon The Clutch Sound and have been working very much on just tinkering around the edges. Whereas every album leading up to PRF was very different to its neighbours.

Although the Clutch Sound is so much better than what pretty much everyone else is doing it doesn't really matter

Blast Tyrant was the last album where they really road tested the material. Since then they’ve just shuffled into the studio knocked out some songs that sound like Clutch and toured the crap out of them. They’ve fully earned these lazy years to be fair to them, and like you say Clutch half asleep sound better than most bands on their best days, but I just miss getting excited about them releasing stuff :(

the guys who are two of the biggest people in rock music in newcastle didn't know st.vitus were playing

i'm worried that if i go to the show now that if those two didn't know then no one will and it'll be really sad watching the grizzled old band going through the motions to 24 semi-interested folk and one nutter going crazy at the front embarrassing us all

it'll be like when Sepultura headlined the academy but the gig wasn't advertised with the rest of the tour in the press so it was downstairs and less than half full all over again
but emptier because no one even remembers that northumbria uni is still a venue

According to Commentators of The Internet, apparently it hasn't been too well received by some people, but the jury's still out as to whether the haters are Moss purists or kids baffled that music can be this slow without being put through a time-stretch program.

I for one am enjoying the turning of this cook's spit. Proceedings begin typically Moss-like - less a riff, more a succession of despair - but once the Horrible Night settles in, things get pretty triumphant. Best they've done yet.

all sorts of extreme music, electronic and guitar based. It's gonna be good! They're funding the launch issue by Kickstarter, 5 days left and they've nearllly reached the target; please support if you're interested by preordering issue 1 and/or buying an for your band/label/whatever in there: www.kickstarter.com/projects/1821508769/decompression-music-magazine

Anyone who has seen Hookworms live knows that they are an enervating, entrancing, life-enhancing experience. The Leeds quintet create hypnotic, cathartic, discombobulating dance music through a disorienting combination of echo-swamped vocals, garage bred organ, fuzz-blitzed wah-wah guitars and constantly driving rhythms. It just sounds like so many rock & roll clichés on paper, but these unassuming young men who rarely remove their coats and insist on only being known by their initials somehow make it completely new. You forget about your record collection and mental index of comparisons, and find yourself just stood in a small sweaty room with this vicious, compulsive noise swirling around you, and singer MJ stood at his keyboard screaming his lungs out about how "you're losing your face” and god knows what else.

Broadly and correctly described as a psychedelic band, Hookworms are fans of Black Flag and US hardcore who deflect individual attention (hence the initials-only stance), show no desire to give up their day jobs, and enthusiastically muck in with the experimental DIY scene loosely centred on Nottingham's exemplary Gringo Records (the indie label on which Pearl Mystic is released). So far they've released a clutch of limited-run EPs, live cassettes and split seven-inches, but these offered little clue as to how well the occult fire of the gigs (because magic is too wimpy, too precious a term) would transfer onto their debut album.

Well, fret no more. Pearl Mystic is that live bacchanal, focussed and given clarity but not compromised or cleaned up in any way- it was self-produced in MJ's own Suburban Studios, after all- and with a couple of newly-crafted curveballs thrown in for good measure. All you could wish for, in other words- and at 44 minutes, it even hits that "one side of a C90” classic perfect album length. It fades in with the epic 'Away Towards,' building slowly until the song finally crashes into life dead on the three minute mark, and every Loop / Stereolab move you thought was old and worn out suddenly becomes fresh and vital again. It's metronomic, but not droning; psychedelic, definitely, but shoegazing? Fuck, no - the vocals may be reduced to near-unintelligibility by the Roland space echo, but MJ looks you right in the eye throughout, his rallying cry of "Come on!” Iggy-defiant as each vertiginously-descending rollercoaster chorus kicks in, the song oscillating wildly with the acid evangelism and garage fervour of the Thirteenth Floor Elevators linked to Suicide's street punk, sci-fi nihilism.

The call-and-response Velvet Underground swagger of 'Form and Function' follows; screaming desperation blistered and burnt in the body's own chemical maelstrom as the mind struggles to come to terms with rejection and loss. There's a loose lyrical theme of depression and break-up running throughout the album, and this song in particular feels like the endless internal dialogue of that situation that all the drink and drugs just can't block out; they just wrap it in distorted guitars and deep organ stabs, and if you're lucky hit you with just this level of warm fuzz overload so the pain seems almost pleasant and you stagger blithely into the opiated haze of 'i', a blanket of unconditional white noise that finally gives way in turn to the loping bass and needle-guitar prickling of 'In Our Time.'

This is the album's first real wild card, a strung-out ballad that recalls Primal Scream at their most fractured and narcotic. It takes a while to love, but the decision to vary the pace on Pearl Mystic, in contrast to just replicating Hookworms' brain-frazzling live shows, was a wise one, and 'In Our Time' could prove to be one of the album's most rewarding tracks. Likewise the tambourine-driven pulse of 'Since We Changed,' which more closely resembles Spacemen 3 or Wooden Shjips, its shamanic healing trance repeatedly circling a core of contained pain, like the Doors' 'The End' as deconstructed by Sunburned Hand of the Man. Speaking of whom, what's the betting Hookworms were among the youngsters whose heads were turned and lives changed by those incredible Sunburned Hand live shows in the early noughties, their chaotic freeform ritualism offering a million possibilities that are still being acted out by the small and scattered provincial freak units who allowed themselves to be possessed by the capricious, maverick muse the Sunburned collective fleetingly summoned?

The Raymond Carver referencing 'Preservation' blasts the light from the room, an armoured train careering through the Pennine sidings as Pudsey, Bradford, Halifax and Hebden Bridge are all immolated in apocalyptic rapture. Carver is nodded to again on 'What We Talk About,' pulling away from the ruins on blackened wings and gospel dreams, a repeated lament of "we say goodnight” hanging over slide guitar and organ intertwining without the slightest hint of retro reverence, just the sound of the view from the hill at night, the golden lights of Factory Town and the distant motorway roar.

Pearl Mystic is the best British psychedelic album since the 1990s; maybe more than that. There are promises in its depths that will only be made good in the weeks, months, years to come. Hookworms don't strike a pose, go through the motions or indulge in narcotised narcissism, stoned mirror-gazing in leather trousers. They are useful, they are fierce and alive, they are nuanced and open, and every noise, every rhythm they create serves a purpose. That purpose is not to recreate other records, or other eras; it is to dislocate the present moment, and to wrench freedom from our self-made psychic prisons. In other words, Hookworms are the real thing.

Being someone who listened to their first one constantly, it's taking some time to sink in, but I'm really enjoying it. Bruane Brenn is so FUCKING good - that chorus. I don't care that I have no idea what they're singing. Spring Fra Livet, Evig Vandrar (the boot stomping bit is ace) Underto (really love the outro on this) and the track Kvelertak (totes AC/DC style) are all favourites at the moment. I want an owl hat.

saw them last night and they left me just a little slack-jawed. double drums, trombone and saxophone live set up...think they would bring the house down at supersonic and/or atp etc! www.egetvaerelse.dk

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"I am moving back to the states for an indefinite amount of time, and unfortunately what has been a great night will be drawing to a close for the forseeable future. But not without an almighty bang; come and join us on Friday the 26th of this month for what is sure to be an appropriately killer final act.

featuring sets from some of our favourites!:

CEMENTIMENTAL

GHOLD

SPITE HOUSE

I LIKE BUGS

GUNCLEANER

DER WARST

the music starts at 10:30 so come down early!!

otherwise, business as usual--10pm doors, £2 in (all proceeds go to the bands and the venue). drinks--still only £2.50 doubles!

while I'm at it, would like to extend a big big thanks to all of the fantastic acts we've had on, and, most importantly, to Anne Bocking and the Bunker Club for their undying patience and support in putting up with our awful racket over the past 8 months."

Each act will perform individual sets followed by rare collaborations and improvisations.

ANTON MOBIN
After an impressive display of sound and technology last year in The Miller with his boxes of springs, rods, tongues of wood and other sound making devices, this Paris-based artist returns to the UK. Having developed his use of the radiophone over many years, Anton creates haunting sonic pulses through manipulation and intuitive shaping of sounds, that have earned him international recognition.
https://soundcloud.com/anton-mobin

BENEDICT TAYLOR
Noise and improvised music from this solo viola player. Benedict performs and records around the world as a soloist, as an ensemble performer, with improvisation groups, new music ensembles, electro-acoustic groups and full orchestras, in many of the world's leading festivals and venues.
http://benedict-taylor.blogspot.co.uk/

Altar of Plagues - Teethed Glory & Injury (a fine follow up to Mammal. Not totally sure about the production, but it sounds huge and the composition is equally monumental - soundcloud.com/profoundlorerecords/altar-of-plagues-god-alone)

Fell Voices - Regnum Saturni (as with Ash Borer, you need this band if you want to know why people like me still hammer on about how VITAL black metal still is. Post 2010 black metal is off the scale of essential. www.gileadmedia.bandcamp.com/album/regnum-saturni?. Listen to Emergence. Track of the year.)

Horna - Askel Lähempänä Saatanaa (old school Finnish BM. this must be their 20th+ release in almost 20 years or something, yet somehow they just keep coming up with powerful stuff. New singer on this. which is good because the last guy was probably their weakest element. Pure black&roll, now with throatier vox: http://www.youtube.com/watch?v=XoAptO105Ew)

Skagos - Anarchic (this was earlier in the year but I only just got it - massive scope of sounds over 2 multi part tracks. like a Godspeed album structure in Black Metal form - skagos.bandcamp.com/album/anarchic?)

(even if you're not concerned about it because you're not living in
France, or even in Lyon) They need as many votes as possible to be able
to play there on stage with some great bands like Vera Cruz, It Came From Beneath, MOTION, Own The Owner and Oceans Asleep !

Please vote for them and share this with your friends to allow them to play in Lyon (FR)

toby said they need another 200 people to buy it before they can finish recording it, and they haven't delivered on their last kickstarter project yet.
excited for the album though, just not getting ahead of myself. the trailer is cool thuogh, does sound like they're trying to encapsulate all of their albums in one place.

We're still running our preorder to help fund the mastering and manufacturing of this record, so please have a listen to the trailer, and then head on over to http://kayodot.bigcartel.com to preorder a.s.a.p. so we can get this record out in time for our tenth anniversary in Autumn 2013. We need to sell about 200 more copies of the vinyl to move this along! Thanks so much for your ears & heart & continued support!

Crusty dirty Finnish blackened hardcore. Can't decide whether it's more black metal or hardcore, it flips between them and melts them together really aggressively. Not that it really matters - It's fast, nasty and fun.

Loved their debut album, although I had it playing in the car the day a deer ran headlong into it on the way home from work, so I can't listen to it now with feeling a little bit jumpy. This one is less meshuggahesque and more mellow, with less deer-induced flashbacks

I made a thread about them but none of you dicks bothered to respond. ANYWAY....they're like a punk rock version of Kvelertak (all lyrics/shouting in Norwegian - full of big Refused-style riffs with a bit of cello thrown in as well.)

which is what the proverbial kids are into innit? good chunk of the people there couldn't possibly have been around for the first album.
i like the new stuff, it's a bit more atmospheric and a bit less skramz. in the nervous light was amazing though, urite.

I actually only started listening to Decompositions because of the gig, but then again they don't have that much material overall so I figured people would stay to hear them play some of the music from As The Roots Undo.

There were quite a few fairly young looking folks there too so I did wonder how many of them were actually familiar with the band.

loved the show, disappointed at the lack of Same Shade but oh well. Loved every support act. Not sure of the first bands name, Estoric Youth? Strange little way in which audience members just became a vocalist for a bit

maybe sat too. OOOOOHHHHH and JAG I have a gig on saturday night in Dalston, going to do some gameboy/arduino/glitch/nerdmusic because it's that kind of a nite but it will still be pretty much NOISE and probably more horrible than my straightforward harsh noise usually is (relvent to 'unpleasent music' thread) ----- GLEETCH LONDON: https://www.facebook.com/events/669126519770923

They were great in Leeds on Wednesday though. Literally walked into Matt Bower just after they played and unfortunately the ability to say anything that wouldn't make me sound like an idiot deserted me.

Were back! Since the overwhelming success of our first issue released back in April, we are pulsing with adrenaline in the run up leading to the launch of Issue#2 on 27th September. We decided to celebrate once more with a launch party at The Unicorn in Camden, London, UK, and what a fucking line up we have for you!

? TRIBAZIK?
? https://www.facebook.com/tribazikSounding somewhere in between Chris Liberator, Deftones and Killing Joke, London based free party crossover live band TRIBAZIK have been kicking up a storm on various underground subcultures for their fusion of rock, metal, and electronic dance music. Their latest single "Spacetime Collapse" was remixed on wax by acid techno warrior, Chris Liberator aswell as none other than the grandfather of breakcore, Venetian Snares. We are absolutely ecstatic to have them headlining this show!

?PETROL BASTARD?
? https://www.facebook.com/petrolbastard?directed_target_id=0We got them in the bag! Leeds based industrial / techno-punk are back again to rape your senses and lick your soul. Recently signed to Armalyte Industries, they are working on new material for their brand new record. Never heard them? Think The Prodigy meets GG Allin! Never seen them? Now's your fucking chance!

? RIP SANITY ?
? https://www.facebook.com/RIPSanityFeaturing on the cover CD of Decompression Issue#2, we thought it would only be right to have them play live for you all too! Savage thrash / death metal with hardcore punk vocal influence. In their own words; "Nothing is infinite, only constant. Everything ends."

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*SUBMIT YOUR DEMO! * If you want to play at future Unrepresented Music nights, please bring your demo on a CDr and hand it to us on the door!
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http://korsakoffswales.bandcamp.com/from Bridgend. quite a lot going on with this one so it's hard to pin down, a couple of them used to be in Hondo Maclean but you wouldn't really be able to tell... dirty riffs, keeps you guessing what's coming next, has a didgeridoo and a viola on it too apparently.

After ten years of powerful psychedelic riffcraft, the instrumental juggernaut that is Mothertrucker have finally crafted their magnum opus: “The Power of Independent Trucking”. Combining the hard riffing of Sabbath and Kyuss, the quiet menace of Slint and Mogwai and the wild freak-outs of Earthless, The Power of Independent Trucking is a 6 track, 30 minute hellride into the heart of sweet oblivion. Thick dirty distortion, menacing atmospherics, head nodding tempo changes, rewarding climaxes...this release has it all!!

Over the course of their existence, Mothertrucker have shared the stage with
the likes of Boris, Mono, Baroness, Jesu, Grails, Red Sparowes, Aereogramme and Truckfighters and kicked off their tenth anniversary year with a devastating performance at the 2012 Supersonic Festival. This album marks the dawn of a glorious new chapter for the band who are hungry to spread their love of the riff far and wide and add to this illustrious list of comrades in rock.

Once you have found yourself trapped in the headlights of the Mothertrucker, you can but only lay back, stretch your sack & make peace with your maker.

The venue is a short walk from Deptford Bridge station on the DLR, a longer walk from Deptford & New Cross stations on National Rail and New Cross on the Overground line. Deptford Bridge station connects with local bus numbers 47, 53, 177, 180, 199, 225, 453, N47 and N89.

Asked if we could put it on. all of us instantly initially shocked that it was Raime but then all agreed that it still has the Raime-ness about it. It's the use of space and silence, such a tense sounding track. You can feel every sinew of it.